Marianne Morris | Artist

Living Life in Full Colour

Month: March 2017

And… I’m off….

Last week I asked for suggestions, and I got a good one from Toronto artist Kevin Ghiglione (whose encaustic paintings I think are pretty amazing. I even own one). Here’s what he said:

Hi Marianne – abstraction will be a great way to present your new bodywork. Why don’t you gather up all of the inspiring photographs from your trip and put together and maybe something will come of that. There will be shapes. There will be colours. Patina. And I’m sure there will be feelings too – both passive and experienced. Try talking it through with a friend or an associate – because when you take all those dreamlike thoughts from your brain and talk about them and explain them – the simple fact of putting these thoughts into concrete words will make it much more concrete for you. I’m really excited what you going to produce!

Always one to try a suggestion, particularly if I’ve asked for it, I gave it a go. I looked through my photos and flipped through my sketchbook. I wrote some stream of consciousness about what I was looking at. I talked, to myself mostly, about what I found interesting and the visual cues that excited me. Then I set about painting.

The blue page I had started already, but had lost the thread of it part way thorough, and put it away. I had it finished within 20 minutes. While I’m not thrilled with the shapes, I do like the way you get the feeling there is something going on behind the surface. The charcoal marks and the spattering of ink peek through what could be a window or a passageway. I’m satisfied enough that I know I want to pursue the idea of covering up and scraping back… kind of like uncovering the old and decrepit under the new and the smooth.

The pink page I started with an idea of how I wanted to approach it, and I think it is my most successful of these experiments. The shapes work, the textures are lovely, and I like the way the linework doesn’t get obliterated by the paint.

I think I’ve got a path now. I’ve prepped some smaller canvases to start… a bunch of 12×12″ and a few 24×24″. I have a few large ones waiting as well, but I want to have a good idea of what I’m doing before I start those. We shall see how it goes.

A fine mess I’ve made here…

journal painting

I painted over this one 3 or 4 times. I’m not impressed, but I finally just decided to move on. Looking at it now, a few days later, I can see what’s wrong with it. Time, I suppose, is the artist’s friend.

While I’m in my exploratory stage, I do my best work when I approach it without any semblance of a plan. Not that hard really, knowing that even when I do have a plan, it very rarely works out the way I think it will.

Working as I do, I always get caught up in something. Sometimes it’s the way the paint is flowing, sometimes it is a subject, or maybe an emotion. I will try to identify what it is that grabs me, and then keep following the thread until I get to the end… or I lose interest, whichever comes first. That may be a half-dozen pieces, or it could keep me occupied for much, much longer. For instance, my Fascinating Rhythm series ended up being almost 50 paintings, and took me close to 2 years.

For this project, while I’ve identified what I loved about my trip to Portugal, I’ve yet to figure out how I’m going to translate that visually. I don’t particularly want to paint a bunch of landscapes. I could, and they would probably sell, but I’m much more interested painting abstracts. Maybe it’s time to forget about doing a concrete “inspired by” kind of collection, and just let its influence come through however it decides to show up. Any of my artist friends have suggestions on that?

ink drawing of a Beagle, Boarder CollieX

This little doggie was distracting me. She wanted my undivided attention at all times.

This week my work time was seriously curtailed by the furry visitor we had. Destiny is a beagle, border collie cross… and spending time with her you could see exactly how each breed influenced her personality. Nose to the ground for the entire time we were outside, going faster than any big dog I’ve walked, but stubbornly refusing to move if she smelled something interesting. That’s so Beagle. Inside, she would stare a hole through me if I was not paying attention to her. She wanted to be in my lap if at all possible. Made it a bit difficult to paint. Still, it was fun to have her here. And it is short term. If she were my dog I’d have to figure something out, but now she’s gone home, and I have a week free before the next one arrives. I’m certain I’ll get my paintings figured out by next week. I need to…. the clock is ticking.

Finding Direction

Visual Journal abstract entry in blue and gold

My intent here was to create a background that I could draw on with ink and white pastel. But I got a bit carried away with the paint.

Somehow I’ve become a carrier of a sketchbook. It’s not something that I’ve done regularly over the years… I’ve always had a sketchbook, and I’ve worked in it now and then, but it’s never been something I always had with me. It would usually take me a year  or more to fill one up. I think it’s because I paint more than I draw, and instead of going out and drawing the world around me, I would take a more “visual journal” approach with a book that could stand up to a bit of abuse.

I’ve been carrying this book around with me for the past two months. It’s almost full. All the practice has been good… I’m most definitely seeing improvement. But I have a show in October, and I need to figure out what I’m going to paint. So I went back to my tried and true, and made myself a little book out of watercolour paper, and started to paint.

Since I’ve been drawing in ink, my first thought was that I could do some mixed media kind of thing, using paint and india ink. I got out my paints and started, thinking I’d do a background, then add in some kind of abstract drawing, and take it from there. It didn’t quite work the way I had planned. I got totally absorbed in the way the paint flowed. I was mesmerized. I had painted something very much resembling work I’ve done before.

Back to the drawing board… this time I started with the drawing. I tried to draw one of the many stone archways I have in my sketchbook, only this time using a stick so I would have very little control over the resulting marks. I just ended up making a mess. The ink spattered and caught, but the shapes were interesting. Once it dried I used paint to try to pull the random marks into some kind of composition. It’s not bad, but a bit too chopped up. I did manage to capture the feel of a passageway though, so that’s encouraging.

I still have a bit of work to do. If somehow I could manage to combine the two approaches into something cohesive, I may have a something I can work with.

Abstract painting of an archway

Again, I thought I’d do a background and draw over top. Again, it didn’t quite work out that way.

Now comes the hard part

So, I spent a month travelling and collecting inspiration. It was amazing. Now… what do I do with it? How does everything new that I’ve seen and experienced translate into new art?

I don’t know yet. It’s always a question… how to take the thoughts and feelings of who I am at this moment, and make it visible into a body of work. And it’s going to have to be  a decent size body of work, because I’ve got a show lined up for October, and I have a gallery to fill. Yikes.

Where do I start? I thought a good place to start would be with a new notebook, to sort out the bits and pieces that come up as I’m working. A journal of sorts. I know I’m not really good with writing daily, but maybe if I have a book specifically for this purpose, that I like to write in… well, maybe I will actually do it.

I’ve altered hardcover notebooks for the writers in my life before. Started out as an idea for a Christmas present and turned into a thing. So, off I went to my local Staples and bought myself a plain black hardcover notebook, and started thinking about what I wanted it to look like.

For this, I opened my new book and started to write. Things that grabbed me while I was there? The rocks, the water, the old concrete buildings, and of course, the traditional tiles that were everywhere. I started with some texture gel to give me the feeling of the concrete. I thought about making a small pattern stencil and painting the entire cover, like a tiled wall, but in the end I decided to go with using acrylic molding paste through a single tile-like stencil, and adding colour in hues to represent the water. I used an underpainting in metallic bronze, and used transparent brown and turquoise over top, which lets the metallic glow through.  Overall I think it was a successful experiment. When I look at my book I am reminded of what I loved about Portugal. A good place to start processing.